Seis miniaturas de Mesías Maiguashca: análisis de seis de las siete piezas para piano

La presente tesis de maestría tuvo como propósito analizar seis de las 7 Piezas para piano de Mesías Maiguahsca. Se llevó a cabo una investigación bibliográfica-histórica que nos revela el trabajo de un compositor ecuatoriano de vanguardia desde sus inicios como pianista hasta sus recientes propuestas creativas, enfocándose principalmente en la producción musical realizada para piano. El trabajo se dedica al análisis de seis de las 7 Piezas para piano pero no sin antes conocer el contexto creativo, el cual es de importancia ya que esto nos proporciona una aproximación al lenguaje en la música instrumental de Mesías Maiguashca; en este caso: música sin transformaciones ni mixturada con algún otro elemento sonoro-musical. Esto permitió conocer sobre las influencias y materiales utilizados para la creación de una obra de carácter pedagógico para piano solo. El estudio se basó en la singularidad de cada una de las seis piezas, es decir, no existen parámetros estrictos y fijos para el análisis del corpus de la obra, sino que cada pieza dada su originalidad, ha sido objeto de un estudio particular; por supuesto que algunos aspectos del análisis se comparten pero la metodología propuesta es distinta en cada una de las piezas. Para finalizar se aporta un video donde el compositor explica y describe brevemente estas piezas para piano y una entrevista donde expone el modo de construcción de la pieza “Tres melodías”; estos elementos permitieron recabar información sobre las demás piezas y coadyuvaron a la resolución de cuestiones analíticas

A docência no piano : representações sociais de professores de escolas de música em Taguatinga

Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Departamento de Música, Programa de Pós-graduação em Música, 2015.

The Music and Reading Connection: Improving Literacy with Rapid Naming of Words and Music Notes

This poster presentation is an action research study about improving literacy with rapid naming of words and music notes for ESE students at a Title 1 Elementary school.

Colombian Jazz dance suite : a synthesis of the music of the colombian andes and modern jazz

This thesis is an attempt to unite two distinct and dissimilar musical genres, the music of the Colombian Andes and modem jazz. The compositions to be analyzed in this thesis are meant to function as parts of a whole. Thus, they will be linked by thematic and rhythmic material. In their entirety the pieces will form a suite of dances not unlike those of Baroque composers, with titles that denote the name of the particular air being employed by the composer, who is also the author of this thesis. These individual dances are orchestrated for a jazz ensemble consisting of piano, string bass, drums, alto saxophone, and guitar. The rhythmic underpinning of this work is inspired by the folk music of Colombia and the harmonic content will be derived from the jazz idiom. The purpose of this thesis is to demonstrate the possible product of the fusion of musical disciplines that are on the surface in no way related. This thesis will also attempt to show an example of how cultures can meld socio-artistically.

Portfolio of compositions with commentaries 2012-2015

This writing forms part of a portfolio of works which gathers together notations and recordings made between 2012 and 2015. The writing divides into four chapters. The first chapter undertakes an examination of abstraction. From the proposition obtained therein, that it is possible to extend within abstraction beyond a correspondence between its terms and concrete manifestations, I ask in what way abstraction may be considered to function therefrom. The second chapter performs an analysis of radical music notations from the nineteenth, twentieth, and twenty-first centuries. The central analysis identifies what is essentially an evolution of what I call ''figuration'' throughout three non-chronological phases of Christian Wolff's notations. The chapter closes by questioning what form of understanding might yet be pursued in respect of this work given (a) its nature, and (b) the nature of our inquiry. The third chapter reflects on some of the philosophical problematics raised in the preceding chapters, at the same time as it prepares for those that follow in the final chapter. The final chapter is a record of the development of my thought appertaining to my compositional work. It sets out two case studies (prepared piano and postcard notations) before proceeding to a selected set of commentaries. Finally, the notion of the functioning of written and acoustical ''marks'' developed in the preceding commentaries is generalised as I develop an aesthetics of scriptural experience.

Ted Botsford double bass with Marissa Winship and Megan McElroy, piano November 13, 2016

Concert Program

Max Reger Symposium UW School of Music in conjunction with St. Mark's Cathedral Dr. Carole Terry Wyatt Smith, co-directors November 11-12, 2016

Concert Program

UW Modern Music Ensemble presents Steve Reich An 80th Birthday Celebration with special guests UW Percussion Ensemble December 6, 2016

Concert Program

Characterizing chaotic melodies in automatic music composition

In this paper, we initially present an algorithm for automatic composition of melodies using chaotic dynamical systems. Afterward, we characterize chaotic music in a comprehensive way as comprising three perspectives: musical discrimination, dynamical influence on musical features, and musical perception. With respect to the first perspective, the coherence between generated chaotic melodies (continuous as well as discrete chaotic melodies) and a set of classical reference melodies is characterized by statistical descriptors and melodic measures. The significant differences among the three types of melodies are determined by discriminant analysis. Regarding the second perspective, the influence of dynamical features of chaotic attractors, e.g., Lyapunov exponent, Hurst coefficient, and correlation dimension, on melodic features is determined by canonical correlation analysis. The last perspective is related to perception of originality, complexity, and degree of melodiousness (Euler's gradus suavitatis) of chaotic and classical melodies by nonparametric statistical tests. (c) 2010 American Institute of Physics. [doi: 10.1063/1.3487516]

The Effects of Live, Taped and No Music on People Experiencing Posttraumatic Amnesia

This study compared the effects of live, taped, and no music, on agitation and orientation levels of people experiencing posttraumatic amnesia (PTA). Participants (N = 22) were exposed to all 3 conditions, twice over 6 consecutive days. Songs used in the live and taped music conditions were identical and were selected based on participants' own preferred music. Pre and posttesting was conducted for each condition using the Agitated Behavior Scale (Corrigan, 1989) and the Westmead PTA Scale (Shores, Marosszeky, Sandanam, Batchelor, 1986). Participants' memory for the music used was also tested and compared with their memory for pictorial material presented in the Westmead PTA Scale. Results indicate that music significantly reduced agitation (p

Rationalization, Kunstwollen and technical means of expressivity. The example of the romantic piano

This article seeks to retrace some of the empirical, historical and sociological elements of Max Weber Sociology of music. Even if he is first and foremost interested in the process of rationalisation throughout western civilisation, his Sociology of music is founded on the idea of the technical medium, which he explores in several different directions. This idea will be examined here by means of several examples drawn from western music, particularly from the romantic piano repertoire.

Engaging with theories of dialogue and voice: Using Bakhtin as a framework to understand teaching and learning Indigenous Australian women's performance

In this paper I explore the Indigenous Australian women's performance classroom (hereafter ANTH2120) as a dialectic and discursive space where the location of possibility is opened for female Indigenous performers to enter into a dialogue from and between both non-Indigenous and Indigenous voices. The work of Bakhtin on dialogue serves as a useful standpoint for understanding the multiple speaking positions and texts in the ANTH2120 context. Bakhtin emphasizes performance, history, actuality and the openness of dialogue to provide an important framework for analysing multiple speaking positions and ways of making meaning through dialogue between shifting and differing subjectivities. I begin by briefly critiquing Bakhtin's "dialogic imagination" and consider the application and usefulness of concepts such as dialogism, heteroglossia and the utterance to understanding the ANTH2120 classroom as a polyphonic and discursive space. I then turn to an analysis of dialogue in the ANTH2120 classroom and primarily situate my gaze on an examination of the interactions that took place between the voices of myself as family/teacher/student and senior Yanyuwa women from the r e m o t e N o r t h e r n T e r r i t o r y A b o r i g i n a l c o m m u n i t y o f B o r r o l o o l a as family/performers/teachers. The 2000 and 2001 Yanyuwa women's performance workshops will be used as examples of the way power is constantly shifting in this dialogue to allow particular voices to speak with authority, and for others to remain silent as roles and relationships between myself and the Yanyuwa women change. Conclusions will be drawn regarding how my subject positions and white race privilege affect who speaks, who listens and on whose terms, and further, the efficacy of this pedagogical platform for opening up the location of possibility for Indigenous Australian women to play a powerful part in the construction of knowledges about women's performance traditions.

Selection of common bean lines with high grain yield and high grain calcium and iron concentrations

Genetic improvement of common bean nutritional quality has advantages in marketing and can contribute to society as a food source. The objective of this study was to evaluate the genetic variability for grain yield, calcium and iron concentrations in grains of inbred common bean lines obtained by different breeding methods. For this, 136 F7 inbred lines were obtained using the Pedigree method and 136 F7 inbred lines were obtained using the Single-Seed Descent (SSD) method. The lines showed genetic variability for grain yield, and concentrations of calcium and iron independently of the method of advancing segregating populations. The Pedigree method allows obtaining a greater number of lines with high grain yield. Selection using the SSD method allows the identification of a larger number of lines with high concentrations of calcium and iron in grains. Weak negative correlations were found between grain yield and calcium concentration (r = -0.0994) and grain yield and iron concentration (r = -0.3926). Several lines show genetic superiority for grain yield and concentrations of calcium and iron in grains and their selection can result in new common bean cultivars with high nutritional quality.

Short-term Feature Space and Music Genre Classification

In music genre classification, most approaches rely on statistical characteristics of low-level features computed on short audio frames. In these methods, it is implicitly considered that frames carry equally relevant information loads and that either individual frames, or distributions thereof, somehow capture the specificities of each genre. In this paper we study the representation space defined by short-term audio features with respect to class boundaries, and compare different processing techniques to partition this space. These partitions are evaluated in terms of accuracy on two genre classification tasks, with several types of classifiers. Experiments show that a randomized and unsupervised partition of the space, used in conjunction with a Markov Model classifier lead to accuracies comparable to the state of the art. We also show that unsupervised partitions of the space tend to create less hubs.

Relatório de estágio: mestrado em ensino de música

Resumo I - O presente Relatório pretende dar a conhecer o trabalho pedagógico que desenvolvi no Estágio efectuado no âmbito do Mestrado em Ensino de Música, pela Escola Superior de Música de Lisboa. Este trabalho consistiu na avaliação da forma como desenvolvo a actividade docente na disciplina de Piano, permitindo-me reflectir sobre os pontos fortes e fracos da forma como lecciono, para que me seja possível atingir um nível de qualidade mais elevado na minha actividade profissional. Para esse fim, foi feita uma caracterização da escola e dos alunos envolvidos no Estágio, bem como uma análise das práticas educativas desenvolvidas e uma reflexão crítica sobre o trabalho de docência realizado.